Dear Visitors, 

please note that the Meissen Porcelain Museum, the demonstration workshops, and Café & Restaurant Meissen will remain closed until further notice due to the current preventive measures against the Corona virus. 

Please contact the shopping areas in Meissen and Dresden by phone or order online. Please find further information on

We are looking forward to hopefully welcoming you again soon. 

Stay healthy and see you soon!



“The first step towards UNESCO World Heritage status has been taken

It is a truly communal project and, at the same time, one that everybody involved is whole-heartedly committed to. In submitting the “Sites of Meissen Porcelain” application documents, the Meissen State Porcelain Manufactory, the Meissen Porcelain Foundation, State Palaces, Castles and Gardens and the city of Meissen are seeking to participate in the Saxon evaluation process in the context of additions to be made to Germany’s tentative list of cultural heritage asset nominations for the UNESCO list of World Cultural and Natural Heritage sites. The requisite documents were sent to the Saxon State Ministry for Regional Development on 31 March 2021.

The Sites of Meissen Porcelain are being entered as an outstanding example of a European porcelain manufactory and comprise two constituents: a) Albrechtsburg Castle, in which Europe’s first porcelain manufactory was established in 1710, and, b), the new manufactory erected between 1861-65 at Meissen-Triebischtal for the specific purpose of producing porcelain and which superseded Albrechtsburg Castle. The Meissen Manufactory was the first and oldest porcelain works in Europe and set technological and design standards for all subsequent porcelain factories. As well as laying the groundwork for the production of porcelain throughout Europe, the Meissen Manufactory also lastingly influenced European porcelain art and culture in the 18th century and beyond despite the aspirations of competing potteries and has, indeed, continued to do so for more than three centuries. The Meissen Porcelain Manufactory became a trendsetter for the entire sphere of dining culture in Europe during the late Baroque. Laying dining tables with porcelain became the norm. The significance of the Meissen Porcelain Manufactory for porcelain production, art and culture in Europe can be compared to the pre-eminent role played by the centres of porcelain production in China and Japan, at Jingdezhen and Arita respectively.

The Saxon candidates will be named in the summer of 2021 whilst the new all-German tentative list is being submitted to UNESCO in January 2024.

We’re keeping our fingers crossed!”





Crossed Swords, Charm and Diplomacy. Tenth anniversary of Ludwig Zepner’s death

The modeller Ludwig Zepner (1931-2010) spent more than 40 years working for the Meissen State Porcelain Manufactory. From 1960 onwards, he oversaw the switch to a more modern style of design at Meissen in collaboration with Peter Strang, Heinz Werner and, later on, Rudi Stolle and Volkmar Bretschneider. Zepner was officially appointed head of the “Artistic Development Collective”, which had initially been a loose grouping of artists, in 1966, and held this office until 1990.


Silesian by birth, he joined the Manufactory as an apprentice repairer in 1948. He then trained to be a ceramic technician at the College of Ceramic Engineering in Hermsdorf in Thuringia before moving on to study at the College of Fine and Applied Art in the East Berlin borough of Weissensee, whence he graduated as a Shape Designer in 1958. His fellow-students included Hans Merz, Hildegund Sell and Ellinor Symmangk. He was also profoundly influenced by the two lecturers Wolfgang Henze and Rudolf Kaiser.

Influence and References

He established links with the Art College in West Berlin during his time at Weissensee. The border between the two parts of the city was still porous, allowing Zepner to visit museums, galleries and shops in the “western sectors”. The training he received at the Manufactory and at college left him perfectly placed to help evolve modern, contemporary forms of Meissen porcelain. A new sobriety - multifunctional receptacles, sparing use of materials and variability of shape - was the order of the day in the post-war period. Pomp and frivolity were now distinctly frowned upon. The modern shapes produced by Rosenthal were what Zepner aspired to, especially the styling of the “2000” coffee service authored in 1954 by Raymond Loewy and Richard Latham. He was likewise inspired by shapes evolved by Hans Theo Baumann, Bjorn Winblad and Tapio Wirkkala. Zepner had the task as head of Meissen’s “Artistic Development Collective” of successfully harnessing its members’ artistic individuality whilst continuing to uphold the Manufactory’s inherently rich tradition.

Study trips to Finland and India made a deep impact on him. India, in particular, was a horizon-broadening experience for Zepner, himself a Catholic. He was fascinated by the deeply religious nature of everyday life there, the way a clutch of religions existed side by side, and this altered and expanded his religious awareness. A number of design ideas central to the “Large Cut-Out” service range were stimulated by his trips to India. Imposing cupolas and arches from Persian and Indian architecture are echoed in the outlines of its covers, for instance. Floral devices such as the lotus also feed into his designs, whilst ornately styled marble windows are to be discerned in the perforations on his plates.

Late works

One of the crowning glories of his work for Meissen, and one of his most delightful challenges, was an organ with pipes in Meissen porcelain. After two years of intense cooperation, he and the Jehmlich Orgelbau Dresden company succeeded in bringing the organ to musical life in the year 2000. This was a nicely rounded conclusion to his career that did justice to every facet of his personal and artistic identity. It documented a man with a great love of music who played several instruments and it simultaneously testified to his vast modelling skills, his thirst for knowledge and his restless urge to keep on trying his hand at something new, right to the very last. Ludwig Zepner’s fulfilled life came to an end on 31 December 2010.

The exhibition commemorating the 10th anniversary of the porcelain modeller's death can currently only be visited online. Impressions here ...


Buncheong Ware Ancient and Modern

Virtual presentation

Buncheong bottel

Dear Visitors,

Unfortunately, the advent of the Covid-19 pandemic prevented the planned “Meissen meets Korea” exhibition from being held. You do not need to miss it altogether, though.

You are invited to attend a virtual presentation entitled Essence of Korean Aesthetics – Buncheong Ware Ancient and Modern. The art of Buncheong flowered more than 500 years ago on the Korean peninsula.

The Korea Foundation is joining with the Ghana Foundation for Arts and Culture to promote the exchange of ideas on Korea and her culture with this online presentation.




Paul Scheurich. Porcelain modeller, draughtsman, graphic artist

6 March 2020 to 21 February 2021

Paul Scheurich


Paul Scheurich (* 1883 New York, † 1945 Brandenburg) was one of the most important porcelain modellers in the first half of the 20th century. Our theme exhibition marking the 75th anniversary of his death delves into his life and work.

Scheurich’s porcelain designs for Meissen and other German manufactories, augmented by rare bronze statues, drawings, illustrations and commercial art by the artist, yield a multifaceted portrait of the man.